At this colloquium, the Getty Research Institute launches the Getty Research Portal, a free online search platform providing global access to digitized art history texts. Speakers from leading international institutions will discuss the portal's potential to assist researchers by widening access to public-domain publications from libraries worldwide as well as the portal's likely impact on the digital humanities.

The use of sketches, models, and pattern books in the development of artists' practices is well documented from the Renaissance and later periods. However, evidence from the ancient world is considerably more difficult to recover. In this colloquium, internationally renowned scholars shed new light on the topic by exploring literary texts and material remains in diverse media, including papyrus, stone, and textiles, and by assessing the implications for ancient painting, sculpture, architecture, and other arts.

Albrecht Dürer was the principal German painter, printmaker, and decorative designer of the Renaissance, as well as the author of a number of works on perspective and human proportions. With prints such as Saint Christopher—on display in the exhibition—Dürer exploited the potential of the woodcut and elevated its status as a work of art.

Compiled by French artist and collector Joachim Bonnemaison between 1973 and 1997, this collection consists of more than 630 panoramic images of cities and sites, primarily in Europe. Fueled by the popularity of the painted panorama, these photographs fulfilled the 19th-century desire for wide, sweeping views. By 1845 photographers were experimenting with the panoramic format. Most of the collection dates from 1846 to 1944, with many early photographic processes represented.

Panoramic photograph and detail of the Louvre courtyard looking toward the Tuileries, Édouard Baldus, 1855. The Getty Research Institute, 98.R.19

P U B L I C A T I O N S

Letters to Miranda and Canova on the Abduction of Antiquities from Rome and Athens

Antoine Quatremère de Quincy

French art critic and architectural theoretician Antoine Quatremère de Quincy (1755–1849) was at the center of debates about art appropriation at a time when masterpieces from Italy and northern Europe were being confiscated for the Louvre and famed marble sculptures were taken from the Parthenon and sent to London. In his highly controversial letters, Quatremère both condemned the revolutionary hubris of putting "Rome in Paris" and celebrated the British Museum for making the Parthenon sculpture accessible.

The Getty Research Journal is now available on JSTOR—a scholarly digital archive that is accessible to more than 7,000 institutions in 150 countries—significantly widening access for the journal's readership.

The Getty Research Journal publishes original scholarship drawn from the Getty's extensive archival, art, and rare book collections.